Tuesday, 18 June 2013

We got round to re-screening Performance last week and here is the essay I wrote to accompany the screening along with Tara's amazing drawings.

Its been a very long time since I have written on here, sorry about that. I must try harder!

Duality

Performance (1970)

Directed by Nicholas Roeg & Donald
Cammell

Performance is a film of duality; the person staring into the mirror and their
reflection are both equal. The
film is as much about Nicholas Roeg and Donald Cammell as it is about Mick Jagger's
‘Turner’ and James Fox's ‘Chas’. At the core of Performance is the notion of identities merging. I initially thought that the split
between Roeg & Cammell's directing duties were pretty clear-cut, with one director
taking charge of the actors and script and the other taking charge of the
visual style and editing, but both directors’ subsequent films have such a
similar distinctive visual and thematic style that it feels like Performance was a real joining of minds,
a true alignment.

Performance is an extraordinarily visual film, dripping with references to
artists such as Francis Bacon and the film has a clear Pop Art aesthetic over
all.

This debut film for both directors gains
its unique style surely as a product of Roeg's 23 years experience as an editor
and cinematographer, working on films such as Roger Corman's The Masque Of Red Death, Francois
Truffaut’s Fahrenheit 451 and John
Schlesinger’s Far From The Madding Crowd.
Cammell had an art school background, from which he had gained a considerable
reputation for as a painter of high society figures. Cammell was also well
placed in swinging London and this too had an influence on the film and its
cast. This duality is also heavily influenced by the work of Jorge Louis
Borges, whose work is quoted throughout the film- he even makes a cheeky cameo
at the films conclusion. Borges writing has reoccurring themes of dreams,
labyrinths and mirrors.

“This
film is about madness. And sanity. Fantasy. And reality. Death. And life. Vice.
And versa.”

Both men seem to have needed each other to make the film;
Roeg had his valuable technical experience where as Cammell could draw on his
personal experience to create a true bohemian atmosphere. In the film, two worlds collide with
sexual and violent results, ‘Chas’ the arrogant, self- obsessed gangster is
drawn into the run down, fried, end of the hippie dream world Turner’s washed
up rock star inhabits. Both men are drawn towards each other as much as they
are disgusted by each other. Does this mirror the directors’ relationship?

I don’t know why Nicholas Roeg and Donald Cammell
didn’t collaborate again. Maybe it was a clash of egos, a difference of
personalities, the need to be seen as an auteur? Most people seem to credit Roeg with Performance and I guess that’s a result of his film work that
followed: Don’t Look Now,The Man Who fell To Earth, Walkabout and Bad Timing, films which I feel are about as close to cinematic
perfection as you can get. It’s understandable to see why Roeg gets most of the
credit for Performance- Cammell never
really had the career that he deserved and he was clearly a troubled genius,
sadly committing suicide in 1996. The work he directed after, Demon Seed (his debut film, made 10
years after Performance) and the
incredible White Of The Eye show that
his contribution to Performance must
have been equal to Roeg’s.Both directors
utilise the non-linear cut-up editing style that Performance first brought us.

There is no other film quite like Performance and it famously confused its producers, Warner
Brothers, who shelved the film for two years. Maybe if it had been released in
1968 and was a successful hit then, the two directors may have worked together
again. Maybe the shoot was just too much; the theories of Antonin Artuad, the
French playwright who devised ‘Theatre Of Cruelty’ play heavily throughout the
film, particularly the links between madness and performance. Did this spill
out into the director’s lives? I suspect that there may have been a “party”
atmosphere on set with Mick Jagger and Anita Pallenberg heavily involved in the
Rock ‘n’ Roll lifestyle at the time. Amazingly, the directors were more or less
given the freedom to do what they wanted as Warner Brothers assumed they were
getting the Rolling Stones version of The Beatles’ A Hard Days Night. During an early test screening, a Warner executive’s
wife vomited in shock- this was not the lightweight film that they were
expecting. Warner Brothers chose to cut the film several times and redub some
of the actors due to their cockney accents; they felt had a real mess on their
hands.

One of Don Simpson’s (legendary Hollywood producer,
known for his love of excess) early film roles was to promote Performance in America. He arranged a
screening for some critics and in real Simpson style, spent the promotional
budget on Champagne and a mountain of cocaine to distract the critics from the
film and leave them with hazy happy memories of the party instead.

I find that I always root for Donald Cammell as he’s
the underdog, a real mythical figure. I think he’s underrated and I feel sad at
how frustrated and stunted he must have felt. In truth, I know that Nicholas
Roeg is the better director, probably one of my favourite directors whose work
has affected me most and one of the greatest directors of the 1970’s. Cammell has
left me with two films I love but not films that I will watch again and again,
due to them being such intense cinematic experiences. He’s also left me with Wild Side, a film which was butchered
into a total unwatchable mess; he’s left me his performance as Osiris in
Kenneth Anger’s Lucifer Rising, which
always makes me smile. I think part of my fondness for Cammell probably stems
from the BBC documentary Donald Cammell –
The Ultimate Performance, which I watched as an impressionable 18 year old.
I highly suggest tracking it down on YouTube as it’s a very moving documentary.

Performance
stands up as a piece of art; it’s a mirror between insanity and sanity. It
shows a world that’s ending. The excitement and potential of the sixties dream
crashing down in sex, drugs and violence. Would it have been an incoherent mess
if it was a product of one man’s mind? Would it have been a straight sixties
kitsch gangster piece in another’s hands?

We will never know. When Cammell first wrote the
script, he envisioned it as a comedy caper called The Liars. I’m glad that didn’t get made and it became a much
darker project.

Performance is
such a magical film and I’m glad that though the relationship was fleeting, Roeg
& Cammell got to the opportunity to make one of the greatest films ever
made.

“The
only performance that makes it, that makes it all the way, is the one that achieves
madness”.

Saturday, 9 February 2013

I woke up this morning
with all of the best images from The Keep in my mind.

My sleeping brain had edited
out all the parts that didn’t work and I was left with a great movie.

A patron last night
said that The Keep was the worst film they had ever seen, which is very harsh.

I
think The Keep is a beautiful film that looks like a painting from the German Romantic
period but I do acknowledge that the film is deeply flawed but not bad, I have a soft spot for films
that have flaws. Some of my favourite films are far from perfect such as, William Peter
Blatty’s Ninth Configuration, Alejandro Jodorowsky’s Santa Sangre and Donald
Cammell’s Demon Seed but I still love them.

There many be a great
movie within the confines of The Keep but I’m not sure the answer lies in a 3-hour
cut, I predict that at least 20 minutes of it will be slow motion rolling fog.

If a 3-hour cut was
ever released I would obviously watch it but with scenes with extra dialogue
and an increased narrative the film many lose the crazy dream logic that it
has. Thats part of it charm.

It was never the
intention of Kino Klubb to show bad films purely to laugh at them (though The
Keep did have one hysterical scene in it) but to bring films to the screen that
need revaluation. Films that hold moments of magic and films that we hope stay
with you.

I’m proud that we got a chance to screen The Keep and that so many
people wanted to share in that experience. In Kim Newman’s review of the film
for Electric Sheep magazine he talks about how Manhunter has been rehabilitated
from a flop to a classic and with another screening of The Keep next week in
London and with Film4’s recent screening, maybe its finally time for The Keep to reach
an audience it deserves.

Thursday, 7 February 2013

Dear Blog,I 'm sorry, I just haven't had time for you.
I've been busy and I feel like I have let you down.
Its not you its me, I do still want to spend time with you.
Here goes....

The Keep - Michael Mann

Tomorrow night we screen a rare 35mm print of The Keep. We were asked by the Broadway Cinema to show something as part of the Nottingham's Light Night celebrations. This was the first film that popped into our heads. It uses light and shadow in such a stunning way and is probably best described as a Gothic, Disco, Horror. We are especially proud as this is the first non digital screening we have had. Its a big moment for us. There are still a few tickets left if you can make it?
We will also be playing a set of German rock classics to complement the Tangerine soundtrack with our POWERKRAUT DISKO.
There will be some great lights inspired by The Keep and some amazing projections from the genius that is Noel Murphy.
Our program to accompany the film feature an essay by special effects wizard and life long The Keep obsessive Stephane Piter and a piece by rock legend and all round mega dude Julian Cope about Tangerine Dream!

Cinema Diabolique -Will bring you alternative screenings of cult classics, new releases and film fun throughout the year. Really looking forward to the films we have planned for this year, we have BIG plans. Our launch night will be March 22nd and we kick things off with a special FREE screening of Paul Verhoeven's classic Robocop.